The show tracks the individual crises and conflicts of six middle-aged New Yorkers, even as it features insights from yet-to-be-born beings who have access to the whole sum of human knowledge. Drawing themes and inspiration from Jean-Paul Sartre's existentialist essay "Being and Nothingness," the show is a study in humankind's ability to create its own reality through love and fearlessness.

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As abstract and heady as those themes may sound, Crowe insists that the show is designed to offer a note of inspiration and hope to all audience members, even those who may be unfamiliar with the existentialist theories of Sartre and his peers. Indeed, considering the tense political clime of the moment, the show is designed to offer some universal and immediate lessons.

"Thematically, it's about choosing love over fear, which I think is applicable to today's political situation," said Crowe, a Ph.D. candidate in CU's Theatre and Dance Department. "I think all plays have to be personal, and the plays that have always spoken to me the most are the ones about appreciating the moment, appreciating the people in your life and choosing love."

Those themes are the engine of "Unspoken," and come in the individual struggles of characters based on individuals from Crowe's upbringing in New York City. Faced with the horrific fallout of a large-scale terrorist attack, the individuals work to come to terms with fear stemming from an increasingly dangerous world.

Crowe's work won the top honor in the University of Colorado's 2016 New Play Festival. That achievement qualified the show for a staged production as part of the theater department's 2016 season — it's the latest step for a drama that's seen several iterations since Crowe penned the first draft in 2008.

"Like most playwrights, I really want to see my work come to life, come to fruition. I just thought entering it into the (New Play Festival) was an excellent opportunity," Crowe said.

"It's very exciting for me as the playwright; the vision of the director and designers are elements that I couldn't have anticipated."

Indeed, the team that's worked hard to bring Crowe's words to life have offered their own spin on a story that's still evolving. Director Gina Braswell, a CU master's student, has offered her own insights into a show that's deeply rooted in the culture, geography and people of New York City. The show takes place in the early phases of the administration of President George W. Bush, after tragedy has hit New York City and sent a shockwave across the entire country.

Braswell wanted to find ways to create a vivid and visceral sense of place, to convey the bustle and spirit of the city as a vibrant backdrop for the action.

"The city is a character in the play, and we have to find a way to bring that character to life," Braswell said, who made the decision to cast five extra actors as a roving "shadow ensemble" to illustrate the mood of the city. "I worked with our set designer to create shadow screens that surround the space the main actors are in. At points the main characters interact with these extras. There are many lines and monologues given to people who aren't there — our 'shadow characters' take those lines."

Adding those kinds of elements offers a refreshing kind of freedom for Braswell, whose resume includes plenty of work with the Colorado Shakespeare Festival. Giving input on a brand new work, one that's still in the process of evolving, has given the entire crew a level of creative range; Braswell and the cast have a direct connection with the playwright, an advantage that's lacking during a production of "King Lear" or "Othello."

Those benefits go both ways. For Crowe, who's still looking for ways to improve and sharpen the text, the input of actors, designers and the director is a vital part of elevating the text to the next level. What's more, Crowe said he's eager to incorporate input from audience talk-backs during the run for a future production in New York.

"I had the opportunity to talk to each of the actors about the inspiration for their character and where I was coming from as a playwright," Crowe said. "(But) part of the fun is seeing what the cast and crew will do with it, particularly this bright, smart cast and crew."

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